Archive of the Business Category

Sound Devices Highlights New 4:4:4 Feature for PIX 240 And 240i at the 2013 NAB Show

Video Recorders Can Now Record 12-Bit, 4:4:4 Content to Apple ProRes 4444

LAS VEGAS, APRIL 4, 2013 — For attendees in search of the latest 4:4:4 recording solutions, Sound Devices showcases its latest upgrade to PIX 240 and PIX 240i Production Video Recorders at the 2013 NAB Show (Booth C2849). This new major update, available for all PIX customers free of charge, offers Apple ProRes 4444 recording from video sources over 3G-SDI (4:4:4 RGB or YCbCr). Recording 4:4:4 offers productions superior color precision for applications in chroma-keying, color-grading and multi-generational editing.

PIX 240 and 240i users now have the ability to record into Apple ProRes 4444, which offers impressive quality with 4:4:4 sources and workflows involving alpha channel transparency. With its 12-bit, 4:4:4 capability, the PIX 240 and 240i can record 330-Mbps Apple ProRes 4444 files that are perceptually indistinguishable from the original source material. Popular cameras with 4:4:4 capable outputs include the ARRI ALEXA, Canon C500 and Sony F3.

“Sound Devices is pleased to feature this latest firmware update at NAB, as we know this is an important feature to many of our users and we foresee this capability being a hot topic at this year’s show,” says Paul Isaacs, Technical Development Manager, Sound Devices. “Bringing Apple ProRes 4444 recording over 3G-SDI to the PIX 240 and 240i offers additional color accuracy available in a 4:4:4 environment—reinforcing the PIX recorder as a master-grade production recorder suitable for the most demanding production applications.”

Additional features available in this latest v3.0 firmware update include time-code and recording status displays on the SDI and HDMI outputs, up to 500 ms of audio delay to compensate for multi-device picture delay, and selectable 4:4:4 or 4:2:2 video output independent from the source material.

Users can connect PIX 240 and 240i to cameras with HD-SDI, 3G-SDI, or HDMI and record directly to QuickTime using a range of different Apple ProRes or Avid DNxHD codecs, including Apple ProRes 4444. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making for simpler, faster workflows.

The PIX 240i’s high-performance five-inch, IPS-based LCD display is an accurate field monitor, providing users with immediate confirmation of framing, exposure, focus, audio metering and setup menu selections. It offers excellent color accuracy and contrast, great off-axis visibility and accurate motion tracking.

The built-in hardware scaler and frame rate converter allows PIX to output and record material at different resolutions and frame rates than supported by the camera. Conversion between HD and SD, with and without anamorphic conversion, is available.

The audio circuitry of the PIX recorders is based on Sound Devices’ award-winning 7-Series digital audio recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power.

The HDMI-only PIX 220 and PIX 220i video recorders also gain new features available in the new version 3.0 update, including Apple ProRes 4444 recording, time-code and recording status displays on HDMI outputs, and up to 500 ms of audio delay to compensate for multi-device picture delay.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

CLEAR-COM UNVEILS FURTHER ENHANCEMENTS TO ITS TEMPEST DIGITAL WIRELESS INTERCOMS AT THE 2013 NAB SHOW

LAS VEGAS, APRIL 3, 2013 ? Clear-Com®, a global leader in critical voice communications systems, announces further enhancements to its Tempest Digital Wireless Intercoms at the 2013 NAB Show (Booth C8008). Included among the latest offerings are a new Tempest®900 BeltStation and a Remote Line Extender. These solutions further enhance the systems’ use for broadcasters requiring ultra-portable wireless communications in RF-rich environments.

The Tempest line of feature-rich wireless intercoms comprises the 2.4 GHz Tempest®2400 and the 900 MHz Tempest900 wireless systems in either a two- or four-channel offering. Both Tempest systems deliver cutting-edge RF technologies to ensure interference-free communications for mobile productions and broadcast facilities. The Tempest2400 offers a Seamless Roaming feature, which provides broadcasters with continuous wireless coverage across an expanded production space. The Seamless Roaming feature allows BeltStation users to migrate between as many as 16 different Tempest BaseStations (coverage areas or zones), allowing audio professionals to focus on critical production cues rather than on the settings of their wireless BeltStations. This gives them the ability to move freely and wirelessly throughout large venues separated by large distances, such as multi-studio complexes and sports arenas. Both Seamless Roaming and iSelect Roaming are available to accommodate virtually every application need.

As part of a continuing effort to expand the Tempest system further, Clear-Com is introducing the latest Tempest900 BeltStation. Equipped with an advanced Planar Inverted-F Antenna (PIFA), the new BeltStation has an increased range, allowing more wireless coverage. Becoming increasingly more popular in the mobile phone market, a PIFA is low profile and has an omnidirectional signal pattern, which means it can receive a connection from any direction. Backwards compatible with Tempest900 firmware version 3.0, the new BeltStations will continue to operate within the 900MHz frequency band and are fully compatible with all versions of the Tempest900 BaseStations and BeltStations. The longer wavelengths and wider symbol width in this band allow the system’s signals to break through dense walls and other structural objects more readily, increasing the range for users and reducing any potential loss of audio.

The new Tempest Remote Transceiver Line Extender increases the systems’ cable run distance of a remote antenna by 3,000 feet (914m) with one Line Extender or 2,000 feet (609m) per Line Extender if using more than one Line Extender. This allows for the deployment of larger systems with longer cable runs from the BaseStation. A total of three Line Extenders can be connected to provide total coverage of up to 7,500 feet (2286m).

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

RTW Welcomes Arjen Hofland as International Sales Manager

Hofland Will Utilize His Pro Audio Experience to Further Expand the Worldwide Distribution of RTW Devices

COLOGNE, GERMANY, 1 APRIL, 2013 ? RTW (NAB Booth C1844), a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to announce the appointment of Arjen Hofland as the company’s new International Sales Manager. Based at RTW’s headquarters in Cologne, Germany, Hofland will oversee all of RTW’s international sales in different regions around the world.

In its more than 45-year history, RTW has consistently experienced increasing global customer demand, especially as more countries adopt loudness regulations. In his new role, Hofland will work to further this success in markets beyond Germany and the surrounding European countries, working with current customers in South America, Canada, Australia, the Asia-Pacific regions and parts of Europe. He will also endeavour to introduce new distributors and dealers to the benefits of the RTW product line.

With his 25 years of experience in the pro audio and video industry, Hofland brings to RTW a thorough knowledge of, and familiarity with, the pro audio and broadcast industries. He has spent time at several top-tier audio and video companies in and around Europe as a manager and in other sales and technical support positions.

“With Arjen joining the RTW team, we are gaining an expert with a deep understanding of the current needs of the pro audio community, whether in the broadcast, post-production or other markets around the world,” says Mahmoud Chatah, RTW director of marketing and sales. “RTW’s current goal is to strengthen the RTW brand internationally, and we are confident that he will lend the support necessary to the RTW sales team to do this.”

For his part, Hofland is excited about coming aboard at RTW. “I am honored to join RTW, a company with such an excellent reputation and commitment to bringing its customers innovative solutions that are reliable, technologically advanced and set standards in the pro audio market,” he says. “I look forward to working with such a talented, knowledgeable group of people, as we all strive toward the common goal of maintaining and further strengthening the popularity of RTW products around the world.”

ABOUT RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s ranges of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

Myers to Show Latest Innovation to its Broadcast Management Solution at NAB 2013

Click to VISIT MYERS AT NAB BOOTH # N 6415

Northampton, MA – Exhibiting at NAB for the seventh consecutive year, Myers – a leading developer of broadcast traffic, business, and content management software – will demonstrate the newest features and versions of its flagship ProTrack broadcast management suite in Booth N 6415 in the LVCC’s North Hall. ProTrack, available in radio and television-specific editions, scalably streamlines operations for individual and multi-channel facilities to get the workflow rolling!

ProTrack TV
ProTrack TV is a comprehensive, expandable and affordable broadcast management solution that interconnects Traffic, Scheduling, Sales, Engineering and IT departments. It serves as the centralized unifying element within the broadcast operation and integrates seamlessly with existing infrastructure to optimize workflow while preserving existing investments. Whether a single channel or multi-channel broadcaster, distributing in a linear and/or non-linear format, ProTrack TV helps close-the-loop so that work flows smoothly.

MAM
ProTrack TV’s Media Asset Management Module (MAM) provides a highly effective and affordable solution for managing media assets. Using defined business rules, the popular ProTrack TV broadcast management solution provides confirmation to traffic/scheduling personnel whether a media asset is available and if so, moves it to where it’s required in advance of when it’s needed. A highly intuitive solution, ProTrack MAM automatically triggers the movement of media assets to/from playback and archive, based on data from ProTrack TV’s schedule environment.

Automation Integration
Incorporating Automation Integration into the widely used ProTrack TV broadcast management establishes a direct link between traffic and third party play-to-air automation solutions. It offers streamlined workflow and eliminates redundancy across departments. As a pioneer in delivering the most extensive range of bi-directional BXF integration to automation, Myers defines the lines of responsibility and helps to eliminate labor-intensive tasks to keep traffic and master control in-sync.

ProTrack On-Demand
The On-Demand Module for ProTrack TV’s broadcast management solution enables media facilities to build, schedule, track and publish program and sales packages. It also provides transcode requests for station-defined distribution platforms and needs, such as Mobile, Internet, Cable, DVD and more. Whether a single or multi-channel broadcaster, distributing in a linear and/or non-linear format, ProTrack TV helps close-the-loop between systems and departments so workflow can really roll!

ProTrack Radio
ProTrack Radio is a comprehensive, scalable, and affordable broadcast management solution that interconnects Traffic, Scheduling, Sales, Engineering and IT departments. Operating as a central unifying element within the broadcast facility, ProTrack Radio integrates seamlessly with existing infrastructure to optimize workflow and preserve existing investments. Whether a single or multi-channel broadcaster, ProTrack Radio helps bring systems and departments together to ensure a streamlined workflow!

ABOUT MYERS
Until recently known as Myers Information Systems, the company has been developing broadcast management software since 1989. Myers provides technology and services for television, radio and other digital media providers designed to improve every aspect of their operations, from contracting to invoicing, media management to scheduling, and from trafficking to reconciliation. For more information, please visit: www.myersinfosys.com

Myers contact: Crist Myers
+1-413-585-9820 / sales@myersinfosys.com

Press contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / harriet@desertmooncomm.com

MAGIX Becomes The First DAW Manufacturer To Embrace The Music Producers Guild’s ISRC Initiative

The Music Producers Guild’s efforts to establish an industry standard for embedding ISRC data within digital music files has received a significant boost with the announcement by MAGIX Software GmbH that it will incorporate EBU (European Broadcasting Union) Broadcast WAV files in the latest software upstate for its popular Sequoia Digital Audio Workstation.

André Standke, Product Manager Sequoia, MAGIX Software GmbH, says: “For years, Sequoia has been an integral part of leading broadcast and mastering studios worldwide. We focus our attention on delivering the best sound and tools by working closely with engineers and music producers including Sterling Sound in New York, Air Studios, Alchemy Mastering in London and many more.

“As optical media is gradually replaced by file and server based audio content, we will continue to support the changes to the mastering process with innovative developments such as EBU tech3352 and we are happy to announce this feature is now incorporated into Sequoia, our number one product on the market.”

From the MPG’s point of view, the importance of ISRC cannot be understated. ISRC, which stands for International Standard Recording Code, is uniquely allocated to every song recorded. These codes are then registered with royalty payment agencies, thus ensuring that recording artists and copyright holders are properly remunerated for their work when it is played on radio or TV.

In the past the ISRC information was included within sub data streams of a CD, but in today’s digital age, where music is often stored on digital WAV files, the ability to securely associate ISRC data with specific tracks has been lost. This is because the only common way to incorporate ISRC into a WAV file is via the file name – and if someone changes the file name or it is truncated or amended by a software program, the vital ISRC information can easily go missing.

To resolve this problem, the MPG’s Mastering Group has been working closely with the EBU to develop an industry-approved method for embedding ISRC data within a WAV file. Following discussions, it was agreed that the best solution was to use was the EBU’s existing Broadcast WAV File (BWF), a variant of the traditional WAV file that was developed for use by broadcasters. The EBU has now agreed to adopt the BWF as standard so that all-important ISRC data can be securely associated with specific tracks.

MPG Mastering Group board member and Alchemy Mastering Engineer Barry Grint, who is leading the BWF initiative, adds: “MAGIX’ decision to incorporate BWF into Sequoia is a significant step forward for the MPG’s initiative and we are delighted that the company has embraced BWF as the standard specification for file exchange. The new system is simple to implement and, once adopted, it will allow ISRC to flow through the whole production chain. We now hope that other DAW manufacturers will follow suit.”

Grint adds that ISRC is set to become the cornerstone of every aspect of digital asset management, from tracking and reporting through to royalty reporting and song identification.

“The entire music industry needs a robust and secure system for identifying tracks, and who had input into their creation, so that we can safeguard the incomes of all artists and copyright owners,” he says. “Ultimately, the adoption of BWF as standard will provide a cornerstone for the MPG’s Credit Where Credit is Due campaign, which aims to highlight the woeful lack of credit information within the digital domain. Our overall goal is to ensure that all music creators receive proper credit and proper payment for their work, and having an industry-standard technical solution that allows credit information to be included in the metadata is a major step forward in achieving this ambition.”

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For more information about Sequoia Digital Audio Workstations, please visit www.sequoia-audio.com.

About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

Sound Devices Welcomes Dr. Steve Popovich as Software Engineer

New Addition Furthers Company’s Commitment to Creating Cutting-Edge Products

REEDSBURG, WI, MARCH 19, 2013 — Sound Devices, experts in audio and video products for field production, is pleased to announce that industry veteran Dr. Steve Popovich has joined its engineering team as Staff Firmware/Algorithm Engineer. Popovich will work directly with the Sound Devices research and development team to further enhance the company’s range of firmware and software algorithms for its audio and video products. Popovich brings with him a strong background in audio, systems engineering and software algorithm creation—a unique skill set that will further bolster Sound Devices’ software development efforts.

“Steve is a very talented software coder whom we’ve had the privilege of working with in the past. He has made big contributions with MixAssist on the 788T and other important algorithm developments,” says Matt Anderson, President of Sound Devices. “With more than two decades of experience in the industry, he is a welcome addition to the Sound Devices family. We look forward to his future contributions.”

Popovich’s background in acoustical signal processing began at Digisonix LLC, where he was Director of Research, developing active sound and vibration control technologies applied to silencing HVAC, automotive, aerospace and industrial noise. Since then, he has served in a diverse set of technical and engineering roles in electronic circuit manufacturing, DSP algorithms and embedded software applied to sound, electric motors and vehicle system electronics. His past work has also included supporting audio-related algorithm and software development for videoconferencing products at VTEL.

Popovich most recently served as a faculty member in the Department of Electrical Engineering at the University of Wisconsin, Platteville (UWP), where he participated in the creation of a collaborative program between UWP and UW-Fox Valley in Menasha, Wisconsin. During this time, Popovich also provided DSP-related consulting services, including work for Sound Devices.
Popovich holds a Ph.D. in Electrical Engineering from the University of Wisconsin, Madison, and has been named as inventor on 11 patents.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

StreamGuys And AdsWizz Monetize Internet Radio for All Classical Portland

BAYSIDE, CALIFORNIA, March 19, 2013All Classical Portland, an independent, non-profit radio station with an FM presence in several Oregon markets, this year celebrates its 30th anniversary on the air. However, the pure-format Classical station – one of the few of its kind remaining – is not resting on its over-the-air laurels.

Streaming media and its monetization is top of mind for Director of New Media Alexander Bighill, who joined All Classical Portland in 2011. Bighill has since expanded to eight streams using StreamGuys’ cloud-based streaming architecture. Online and mobile listeners can choose from two AAC+ and two MP3 streams, further supported with redundant streams via StreamGuys’ robust architecture.

Most recently, the station has added AdsWizz’s Digital Advertising Monetization Platform for audio pre-roll injections. StreamGuys offers the AdsWizz platform as an integrated service for broadcasters and audio publishers seeking to generate revenue and monetize streams through targeted content delivery.

“We have a strong sense of place and love the music we play. We’re passionate about sharing this with the rest of the world, and StreamGuys helped us increase online listenership with the reliability of its global infrastructure,” said Bighill. “Online streaming can be fun and exciting, but sometimes that’s not enough of a reason to justify the money that goes into the technology. StreamGuys recommended AdsWizz when it came time to directly monetize our streams.”

Bighill reports that the AdsWizz service is reliable and hassle-free, with new audio files added to the pre-roll rotations over a simple user interface. The station is approaching ad insertion with simplicity to start, injecting in-house-produced pre-rolls as users initiate streams. Bighill expects pre-roll sales to escalate as more listeners and businesses become familiar with the service.

All Classical Portland also utilizes business software from both companies to strategize future growth opportunities. This includes StreamGuys’ SGMon and SGReports analytical tools, with the former producing weekly listenership overviews for comparison to Arbitron terrestrial audience reports. Bighill adds that SGReports offers “an insane amount of detail” about when and how listeners tune in. AdsWizz brings additional value with pertinent information on pre-roll impressions.

His overall impression is that streaming media is vital to the public media space, and that it’s time to take advantage of robust, multi-format delivery and cutting-edge technologies such as the AdsWizz platform.

“It should be no surprise that internet-based media is more than a fad,” said Bighill. “The ability to deliver our broadcast worldwide is a huge advantage because the ratio of terrestrial listeners versus online listeners will inevitably continue to shift. To help offset technological investments, new ways of generating revenue are also needed. The average internet user realizes that a 10-second message is preferable to a subscription service, and that’s where services like AdsWizz are helpful.”

About AdsWizz
AdsWizz provides ad serving and audience analytics technologies to CDNs, agencies, ad networks and online audio publishers. Its audience analytics product delivers publishers with real-time and actionable metrics on their audience behavior. AdsWizz ad serving technology enables agencies and ad networks to create online advertising campaigns across audio, video and display formats with social media integration. The ad serving technology gives online audio publishers the ability to monetize all their online content such as Simulcast, webcast or Podcast; Web, Mobile or In-dash; and domestic or international. AdsWizz serves its customers from its San Francisco, Denver, Paris, Brussels and Bucharest offices. For more information, visit www.adswizz.com.

About StreamGuys, Inc.
In business since 2000, StreamGuys is a provider of audio and video streaming toolsets and services. The company has a reputation for outstanding customer service, a robust and reliable network, and competitive rates. More than 600 clients worldwide, across many industries, depend on their mission-critical service. Projects include serving as the technology backbone for live streaming/podcasting for top public broadcasters such as New York Public Radio, WAMU Washington D.C., KQED San Francisco and WXPN Philadelphia; live video events for major auto racing circuits and the British Royal Wedding; audio streaming for government entities such as D.C. Court of Appeals, U.S. Army, and the National Science Foundation; mobile video content for Cisco Systems; and IPTV content for international broadcaster ABS-CBN.

# # #
StreamGuys, Inc – info@streamguys.com – www.streamguys.com – 707.667.9479
P.O. Box 828 Arcata, California 95518 – fax 707.516.0009

Sound Devices 664 Field Production Mixer Earns Cinema Audio Society’s Prestigious Technical Achievement Award

REEDSBURG, WI, FEBRUARY 25, 2013 — Sound Devices, experts in portable audio and video products for field production, is pleased to announce that its 664 Production Mixer has earned the prestigious Cinema Audio Society (CAS) Technical Achievement Award in the production category. The CAS Technical Achievement Awards recognize innovations in recording technologies, including hardware and software products that are used by sound mixing professionals.

“We are thrilled to once again be the recipient of the CAS Technical Award,” says Matt Anderson, President of Sound Devices. “We strive to bring innovative, field-proven products to market and being given this prominent award for the 664, our newest production mixer, confirms our dedication to developing award-winning products.”

Sound Devices has now been recipient of the CAS Technical Achievement Award three times. The 744T and 788T Production Recorders are past winners. The 664 Field Production Mixer is the new flagship in Sound Devices’ line of portable audio mixers. The intuitive 664 has six input channels and four output buses. All inputs and outputs are recordable to both CompactFlash and SD cards. This unprecedented amount of I/O connectivity and recording capability makes the 664 perfect for any portable production application.

The 664 has six ultra-low noise, high-dynamic-range analog inputs. These transformer-less preamps accept mic- or line-level signals, and include analog peak limiters, high-pass filters, input trim controls and direct outputs. Input connectors 1 and 6 can be selected to accept AES42 or AES3 digital signals

In complex multi-camera productions, output flexibility is essential. The 664 can send its main left/right outputs to three cameras simultaneously. Two additional output buses, X1 and X2, appear on balanced TA3 connectors. AES3 digital outputs are individually selected to appear on the main XLR and multi-pin output connectors.

The 664 can record each of its inputs and four output buses for 10 record tracks. Recordings are saved to CompactFlash and SD cards. Recordings are either 16- or 24-bit broadcast WAV files, with extensive metadata. All popular production sampling rates are supported. When used with a CL-6 Input Expander, the 664 records 16 tracks, 12 inputs and four output buses.

The mixer’s built-in, rock-steady Ambient time-code generator allows multiple devices to operate in synchronization. The 664 can operate as a time code master clock, or its clock can be jammed from an external time code. A helpful time-code comparison utility displays the difference between internal and external time codes.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

Xfm Highlights The Role of the Music Producer

The vital part that music producers play in creating best-selling singles and albums is being highlighted by radio station Xfm, which is hosting a series of interviews with top producers, all of whom are members of the Music Producers Guild.

Entitled Produced By, the series looks at the art of record production and will give listeners an insight into the role of the producer and how they have helped shape the music of the many artists they have worked with.

Produced By kicks off on Thursday February 28th 2013 when Xfm’s John Kennedy will interview Music Producers Guild Chairman Steve Levine, who has worked with numerous chart-topping artists including Culture Club, Honeyz, America, Beach Boys, Deniece Williams and Gary Moore. During his long career in production, Levine has garnered many accolades including both Grammy and BRIT Awards.

The series, which airs between 11.00 pm and 12.00 am on John Kennedy’s X-Posure show, continues on March 7th when Kennedy will interview Charlie Andrews, winner of the 2013 Music Producers Guild Breakthrough Producer of the Year Award. Others taking part include Bruno Ellingham (March 14th); Jake Gosling (March 21st) and Paul Epworth (March 28th), who has been voted the Music Producers Guild’s Producer of the Year and BRIT Best Producer on two occasions – not to mention this year’s Oscar for Best Original Music.

Commenting on the series, John Kennedy says: “’I wanted to find out more about the role of the producer as so many musician guests refer to them in interview. What better way than to talk to the producers highlighted in the recent Music Producers Guild Awards?”

Music Producers Guild Vice Chairman Richard Lightman says: “We are delighted to be collaborating with Xfm on this series of interviews that promotes recording professionals by highlighting the importance role they play in creating great music. It is interesting to note that, at this year’s BRIT Awards, 11 of the 12 winning projects were produced by Music Producers Guild members.”

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

Prism Sound Hosts Audio Design Workshop LIVE

Some of the most experienced engineers in the audio industry will be sharing their knowledge and practical expertise in active loudspeaker design at a unique workshop being hosted by Prism Sound and Oxford Digital, in partnership with the Audio Engineering Society, LOUDSOFT and TTid.

Audio Design Workshop LIVE will take place at Anglia Ruskin University, Cambridge, on March 25th 2013 and will be open to engineers, engineering managers, students and academics involved in audio engineering.

“The seminar sessions will cover aspects of analogue and digital audio system design and optimization, with a major emphasis on real-world, practical problem solving,” says Simon Woollard, Test & Measurement Product Specialist at Prism Sound. “Our audience will have a unique opportunity to learn from our panel’s many decades of collective experience, plus there will be plenty of opportunity for hands-on experimentation, and for networking with the presenters and other participants. This is a fantastic chance for everyone involved in audio engineering to learn the tricks of the trade from luminaries of the audio industry.”

Audio Design Workshop LIVE will feature seminar sessions presented by Peter Eastty and John Richards of Oxford Digital; Peter Larsen of LOUDSOFT; Ian Dennis and Simon Woollard of Prism Sound; plus a guest presenter to be announced shortly. There will also be a panel discussion/Q&A where delegates will have the chance to ask the panellists for answers and advice, a hands-on session with evaluation units and demonstrations, and plenty of opportunities to network. All delegates will also receive an audio engineering gift pack.

“We are encouraging delegates to bring along their own loudspeakers for evaluation and enhancement using Oxford Digital’s DSP tools,” Simon Woollard adds. “And for those who can’t physically attend, there will be the opportunity to watch the proceedings live via a global webcast.”

Places for Audio Design Workshop LIVE are limited and anyone wishing to take part is encouraged to register now. This can be done online via the Prism Sound website: www.prismsound.com/ADWLCambridge2013, or by calling +44 (0)1353 648 888.

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

About

The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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